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In this paper we will discuss the question of landscape representation as a crossing between art and design as from the project Drawing the Place's Soul. Underlying the project is the idea - that serves as an argument for landscape representation - of drawing as a visual language and as project's matter (medium). In the field of Visual Studies, images and, in this case, drawing are an unavoidable presence of the 21st century, as an iconographic bond, politically participative in the ethical valorization of people and territories. The choice of the medium (drawing) promotes craft as a bodily action, also deeply associated with the landscape. Methodologically, it was sought that the experience, free of constraints, would be able to provide information for the internal evaluation of the territories and for the way they are disclosed. The initial experiment was carried out in three territorially and circumstantially differentiated villages (whose territory is deeply deserted and which, in summer 2017, was hit by violent forest fires) and will be presented and analyzed here from a perspective that sees landscape as a purpose for the interception of art and design through the practice of drawing. ; published

[EN] Historically the imaginary and the hegemonic thinking, in the Western globe north, has been marked by the epistemology and capitalists archetypes. Notwithstanding the design seem as a practice and discipline shielded on a simplistic discourse of functional / communicative efficiency, wandering through by multiple aestheticism apparently neutral in relation to the symbolic, but in fact they never are, because what really hapens is that the aesthetic appearance of the generated forms will always be a review of the powers ruling. We start from the understanding that the act of creating an aesthetic artifact, will also be a movement of inscription in a discursive platform (that precedes it), is in itself an narrative act and that fact represent a certain take place in relation to certain symbolic reality. On reflection shown if it sees design as a discipline and / or an instrument of action, whose operational relevance tends to question and simultaneously rehearsing a response, in which more than why interests answer to why. Apparently the design is a content mediator, but also, it is structure, is body, is idea. We think a design praxis as discipline and enrollment tool of critical thought and social transformation. For guiding research in this text, we propose the following question: Can the Design want for themselves an engagement with the symbolic in order to be an active part in the production of critical thinking in the place where it belongs? Methodologically our argument will be present in two differents moments: 1. a first, exploratory nature where we rescue the draw issues in the practice of design and 2. a second analytical nature concerning the subject issues (graphic and / or utility ) design and how it incorporates formal rites, political events and social practices of contemporary everyday life. We consider the praxis of design as a discipline and critical thinking enrollment tool as agents of social transformation. With this study we seek for contribute phenomenology design by studying the ...

This article proposes an analysis on cartography for the complexity of contemporary landscapes in maritime horizons. By discussing a concept of landscape from Jean-Marc Besse in Voir la Terre. Six essais sur le paysage et la géographie (2006), the landscape is comprehended as a desire to see, as an image of subjectivities in the relationship between man-territory, as a support and matter for existence and as an emotional, biological, political and symbolic place. Subsequently, it is presented a consideration on Cartography through a brief analysis of its historical process, trough the synthesis it performs as well as its geographic, political, social, cultural and symbolic complexity. As following, we observe the cartographic project ''The Poveiro Sea'' and ''their Maritime Backyard'' (2020) by José Pedro Fernandes as a visibility tool, where the author approaches the cartographic exercise trough the observation of location methods and by mapping empirical procedures developed by a group of fishermen from Póvoa do Varzim. We conclude this analysis with the work A Maritime Portrait of Ílhavo (2021) that was commissioned by the Municipality of Ílhavo to the University of Minho, developed by the architect André Tavares who created a series of maps that synthesize the landscape changes at the Port of Barra within the last 100 years, exposing the territorial alterations trough the ocean's point of view. With this text, we intend to propose a support analysis with the further objective of organizing a series of cartographies for the biogeographic landscape of Ílhavo, a municipality culturally and historically connected to maritime activities. ; Este artículo propone un análisis sobre la cartografía de la complejidad de los paisajes contemporáneos en horizontes marítimos. Presenta un concepto de paisaje de Jean-Marc Besse en Voir la Terre. Six essais sur le paysage et la geographie (2006), donde el paisaje se comprende como un deseo de ver, como imagen de subjetividades en la relación hombre-territorio, como soporte y ...

Historically the imaginary and the hegemonic thinking, in the Western globe north, has been marked by the epistemology and capitalists archetypes. Notwithstanding the design seem as a practice and discipline shielded on a simplistic discourse of functional / communicative efficiency, wandering through by multiple aestheticism apparently neutral in relation to the symbolic, but in fact they never are, because what really hapens is that the aesthetic appearance of the generated forms will always be a review of the powers ruling. We start from the understanding that the act of creating an aesthetic artifact, will also be a movement of inscription in a discursive platform (that precedes it), is in itself an narrative act and that fact represent a certain take place in relation to certain symbolic reality. On reflection shown if it sees design as a discipline and / or an instrument of action, whose operational relevance tends to question and simultaneously rehearsing a response, in which more than why interests answer to why. Apparently the design is a content mediator, but also, it is structure, is body, is idea. We think a design praxis as discipline and enrollment tool of critical thought and social transformation. For guiding research in this text, we propose the following question: Can the Design want for themselves an engagement with the symbolic in order to be an active part in the production of critical thinking in the place where it belongs? Methodologically our argument will be present in two differents moments: 1. a first, exploratory nature where we rescue the draw issues in the practice of design and 2. a second analytical nature concerning the subject issues (graphic and / or utility ) design and how it incorporates formal rites, political events and social practices of contemporary everyday life. We consider the praxis of design as a discipline and critical thinking enrollment tool as agents of social transformation. With this study we seek for contribute phenomenology design by studying the artifacts ...

Portugal, tradicionalmente país de emigração, conheceu, nas últimas décadas, uma nova realidade de fluxos regulares e relativamente intensos de imigrantes. Estes indivíduos provenientes do Brasil, da Europa Central e do Leste, e de África, possuem características diferenciadas e deslocam-se para Portugal também com motivações diversificadas. Com este estudo propomo-nos identificar as características – o perfil, em termos de sexo, idade e país de origem dos indivíduos que se deslocaram para o nosso País integrados num processo migratório, em função das diferentes regiões de destino em Portugal.